A Quote by Subb-an

I'm really into Steve O'Sullivan and Mosaic/Sushitech with that dub sound. — © Subb-an
I'm really into Steve O'Sullivan and Mosaic/Sushitech with that dub sound.

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Basically, there were three aspects of dub that influenced dubstep. The most important was playing the instrumental versions of vocal garage tracks, which was a little like what dub was to reggae - the instrumental of a full vocal.The second was dub as a methodology, which, for me, is apparent in all dance music: manipulating sound to create impossible sonic spaces using reverb, echo and such. The third is the influence of the genre called dub. (It became a cliché actually, through sampling old Jamaican films and soundtracks, and adding vocal samples.)
I got into dub a long time ago. I was into dub before I even had any interest in reggae or Jamaican songs, Bob Marley, or any of those established artists. I just thought it was such an unusual sound.
Steve Vai had a unique style of playing. Steve Vai didn't sound like anyone else: Steve Vai sounded like Steve Vai.
Definitely dub is in my body forever. I think I hear everything through a dub filter. Even when I play rock music, I play through a dub filter.
Ireland has always been a nation of great athletes from the past: in the nineties, we had Sonia O'Sullivan and Steve Collins.
Rub-a-dub-dub. Cerebrum in a tub.
I was always listening to the records that made shredding sound fun - Steve Vai, Satriani, Cacophony, Paul Gilbert. I think that's what's missing from modern shred guitar; so many people are playing so many amazing notes, but a lot of it doesn't really sound all that fun.
I am taking my production style more into the world of dub. I mean true dub production techniques but in house music.
A lot of people dub our work as New Age. But for some reason, they don't dub Stan Lee's work that way.
Robert DeNiro, who may be the greatest living actor, usually acts in a way which is very stone-faced, like Steve McQueen. For example, Steve McQueen, if you cut the sound, you don't know what he's acting really. He gives to the lines, to the text, something very special, and he's very good. He was a great actor. But, to do a silent movie, you have to have more expressive actors.
I always feel the movement is a sort of mosaic. Each of us puts in one little stone, and then you get a great mosaic at the end.
Of course I knew disco and dub from years before but I never heard such a radical new sound like house. It blew my mind!
I call everything Steve. Since I was little, I'd go on, like, holiday and call hermit crabs Steve. And I still do. I'll name a snail Steve. Everything is called Steve in my world. My car is also called Steve.
Enshrined in a language is the whole of a community's history and a large part of its cultural identity. The world is a mosaic of visions. To lose even one piece of this mosaic is a loss for all of us.
I'm going down the apples and pears, into the jam jar, down the frog and toad into the rub-da-dub-dub, and I'm going to have pig's ear.
[Larry Kramer] got really mad at me once. The precipitating incident was a speech at Yale by the first President Bush's Secretary of Heath and Human Services, Louis Sullivan, against which Larry led a demonstration. He got the demonstrators to drown out Sullivan's speech, which wasn't allowed.
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